I found a more recent recording (2003) of me playing at the end of a recital of my students. It was a live performance and has two very slight blemishes, but may be found a worthy listing to complement the others listed simply for the different (more empassioned) interpretation. I hope you like.

I really enjoyed listening to your rendition of "Liebestraume" No. 3. I've played Nos. 1 and 2, but not 3, as I generally gravitate to the lesser known works. I believe your playing was thoughtful and sensitive with some lovely nuances too, resulting in fine musicality overall. You also brought about a good sense of passion and sweep to the piece to make it all the more convincing to the listener.

The piano at the recital seemed a little on the bright side in the treble especially. I didn't have the score open, but a few of the right hand octaves in the higher treble seemed a bit forced, giving a slight edge of harshness of tone there. Use of more natural arm weight there might have perhaps been helpful in mitigating the problem? That's my only suggestion. Otherwise, I believe you have a fine performance here. The sound quality of the recording is very good too.

Thanks for posting.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I just had to leave a comment for this piece even though its already been up on the site for over a week...You played this wonderfully. It is one of my favourite pieces so I am quite familiar with it and I thought you played exceptionally well. I agree with Rachfan that there are some sections where the right hand sounds a little bit forced but only slightly. This is one of those pieces that many people may be able to play, but very few every master. imo you dangerously close to mastering this one

I just had to leave a comment for this piece even though its already been up on the site for over a week...You played this wonderfully. It is one of my favourite pieces so I am quite familiar with it and I thought you played exceptionally well. I agree with Rachfan that there are some sections where the right hand sounds a little bit forced but only slightly. This is one of those pieces that many people may be able to play, but very few every master. imo you dangerously close to mastering this one

Thanks for the appreciation . I have selected it as an encore for a program to be presented in 2013, so I will be revisiting it again. Maybe next time I can hit the bull's eye. Sometimes (heck, often) it is easy to overplay (or over record) a particular piano. In that case, you just need a bigger piano

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Dear rsmullyan,Thanks! I noticed from your profile that you are also a mathematician (I wish everybody filled out some profile info). You undoubtedly know about the ratio known as Golden Mean. It is facinating to explore significance in musical works from a standpoint of what happens at about 62% into the work (representing the smaller of the ratio numbers, where the entire work represents the other). On my Windows Media Player screen, this point is conveniently approximated under the progress bar by the low end of the volume slide. Anyway, it is very interesting to see what Lizst has unintentionally composed at that moment (the second fiorituri flourish that resolves the climax of the work). This is done without plan by the composer and is instead a clue and window into much greater mystery. Enjoy!

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

Hi Eddy,since you have commented always on my recordings, I have tried to find also something by you and after having gone a bit back, I found this. (I think, I only know your Ginastera-interpretations until now.)

I think, that´s a very good recording of that well-known piece. You do a fine differentiation of melody and accompaniment in my opinion and your interpretation is very well felt and elaborated. (Though the sound of the piano is quite hard for my taste.)

I hope, that nice recording will find some more commentators now, since it is up again.

Thank you Andreas. I make no pretense to the recording being good, but rather thought is was acceptable (thanks to some 'hiss' removed by some PS member). I think the playing is overall very good, but does have some very minor slips. This was performed at the end of a presentation of my students in 2006. I was not really "in finger" at that time in my life compared to where I am presently. I do plan to revisit this oft-hacked work again with my new equipment and try to capture a definitive performance. (In an effort to save a lot of trial-and error time, I recently decided to request the help of the recording engineer at the local university to come to my home and take me from set-up to mastering, teaching me every step along the way so that I can continue it alone. This should happen in the next couple weeks! Hopefully, soon I will have 3-5 pieces out for everyone to critique.)Eddy

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

I know you posted this piece a while ago, but I just wanted to say I really like your interpretation. It sounded a lot like Arthur Rubinstein's interpretation IMO, though you brought your own rubato style to bear, which was nice.

For criticism one thing I would have liked was to hear was between 1:00-1:08 the holds a little shorter, but besides that, I can't think of anything to pick on!

~Riley

_________________"I don't know what music is, but I know it when I hear it." - Alan SchuylerRiley Tucker

Your interpretation is dramatic and in very good taste. Thank you for such a wonderful performance.

Kaila

Thank you Kaila. I've been away for a week in Puebla, Mexico, giving medical care as part of a Medical Missions trip. There was so much to respond to here at PS that I will limit my response to thanking you and pick things up again.

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

I'm hoping that you'll post a new piece soon, as I think it's been awhile. Just curious, are you currently working on something? If yes, but you're like me and prefer to keep it a "state secret" until you actually post it, that's OK, as suspense adds to the anticipation.

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

I'm hoping that you'll post a new piece soon, as I think it's been awhile. Just curious, are you currently working on something? If yes, but you're like me and prefer to keep it a "state secret" until you actually post it, that's OK, as suspense adds to the anticipation.

David

Thanks David! Or shall I say Rachfan? I've been playing Op.23, Nos 4, 5, 6! These are long memorized and up to tempo. I'm anxious to hear what you (and others) think, but am still stuck with the whole recording bit. I've been waiting (and waiting) for a sound guy to come teach me the ropes of Pro Tools 9 so that I can go forward on my own. It's been so long that I'm sure I'll get the piano tuned again first (not that it sounds bad). I also have the Scriabin Nocturne for LH pretty ready too (the fioritura part is quite tough); actually the voicing is a real bear - some as hard as a few passages of the No. 4 above (the hardest voicing passages I have ever had to tackle!). I have another little encore piece that will be new to the PS library, by such an obscure composer that I can't find hardly anything on.

_________________Eddy M. del Rio, MD"A smattering will not do. They must know all the keys, major and minor, and they must literally 'know them backwards.'" - Josef Lhevinne

On Op 23, you're referring to the Rachmaninoff Preludes, yes? I've also recorded 4, 5 and 6, some of my favorites. The other pieces sound interesting too. Looking forward to hearing your recordings!

Pro Tools 9 is very technical and complicated stuff for the novice from the little I've read of it. My own challenge would be understanding it after it was all explained to me ! One thing I would do though if I were you would be to make sure that the technician fully grasps the fact that you're a classical pianist. It would not be unusual to find that he works in the realm of jazz and pops, which is a world removed from classical and the many implications for making recordings. For example, for solo piano you really only need the purity of two tracks for two matched stereo mics, rather than 148 tracks or whatever. Anyway, I hope you have good luck with that!

David

_________________"Interpreting music means exploring the promise of the potential of possibilities." David April

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